Juank

What's interesting about the LogC license is that it was probably mapped for that specific sensor. The vLog could have just been tossed in. Maybe. Either way, cool camera and shots. 

HA!  I didn't notice that until you pointed it out, as I hadn't hit play on that shot yet.
I guess nothing is immune to moire, although this was worse than I would have thought.
The GH7 has no crop in its full resolution modes, and none in the 1080p modes, but the 4K modes do have slight crops - with the C4K having slightly less crop which is why I chose it, so I wonder why that is and what tom-foolery might be going on with that.  The bitrates for the native resolutions are pretty brutal without Prores LT, so I'll likely stick to the C4K mode unless it starts being an issue.
Thanks!
I didn't get the LogC upgrade.  I haven't seen any tests that were done properly so am assuming that it's not worth the cost unless proven otherwise.  I also figure that even if there is some magic in there, I'm taking a hammer to the image with the FLC anyway, so it's not like I'm precious about it.  The only thing I am precious about is getting images that have the right aesthetic to support the subject matter and get out of the way rather than being distracting.
When I saw Goodfellas and a bunch of film trailers projected on 35mm film, the two most stunning things about the images were:
1) how fundamentally flawed they were from a technical perspective
2) how quickly and completely those incredible flaws evaporated and you saw effortlessly through and into the scene
I'm still at the beginning of my FLC journey, but I'm convinced this pipeline is capable of removing the digital distractions from the image that bug me so much.

Part 2...  how did I get here?
I've written about this previously, but the summary is that I went through a sequence of trial and error, continually bumping up against the limits of the hardware, the software, my skill, and mindset.
Setup: GH5, fast manual-focus primes
I shot a bunch with the GH5 and a set of very fast MF primes.  I chose this setup as it had 10-bit LOG, IBIS, and the fast primes gave good low-light and some background blur.  I knowingly sacrificed AF, essentially swapping a fast / accurate / robotic AF for a slow / human / aesthetically-appropriate focusing mechanism.
The MF worked, but not always (especially for my kids, who wait for no-one), and took time and effort to operate the camera away from the things that literally every other crew member does on set.
The 10-bit LOG worked, but wasn't a properly supported LOG profile so didn't colour grade flawlessly in post.
The primes provided the low-light and shallow-DoF but the shots I missed because I couldn't change lenses fast enough were more valuable in the edit than having shallow-DoF.
The DR was lacking.
Setup: GX85 with 12-35/2.8
I owned the GX85 and 12-35mm zoom, so I did some testing.  
I loved the speed of AF-S, and the deeper DoF meant that the number of shots unusable due to missed focus dropped to almost zero.
I tested it with low-light and for well-lit night-time areas, like outdoor shopping malls, it was sufficient.  
The Dual IS (IBIS + lens OIS) was absolutely spectacular and a welcome addition, and having a zoom made me realise why doco and ENG shooters have them as standard issue.
The DR and 709 profile was a real limitation though, and I really felt it in the grade.
It was around this time I figured out proper colour management, and the Film Look Creator was released.  These made a huge boost to grading the GX85, despite its 709 profile.
The mindset shift
The fundamental pivot was in mindset.  As social media became faster and more showy, I noticed the gulf between it and 'real' film-making more and more.  I went minimalist, thinking more and more about the days before digital where the process was to shoot as best you could, cut it, do sound-design, and that was it.  The focus was on what was in-front of the camera, how the cuts made you feel, and sound design that supported that vision.  Even those shooting docs on 16mm film could make magic.
Without throwing away the baby with the bathwater, I decided to re-focus.  To shoot what I could shoot, to learn to cut with feeling, and to simulate a film-like colour grading process where the look was applied and only very basic adjustments were made.
Setup: OG BMMCC with 12-35/2.8
I owned these already, and on my last trip to South Korea I took these as well as the GX85.  My shooting moved from shooting people I knew to shooting more general scenes, giving me more time and taking the time pressure off.
The setup was large (comparatively!) and very slow to work with, but it validated my mindset shift.
The images were organic and rich, but in a way that drew you into their contents, rather than towards the medium.
The DR was finally sufficient, and the colours were delightful.
But the monitor wasn't bright enough, the lack of IBIS meant that the OIS stabilised tilt and pan but not roll, so the images all needed to be stabilised in post, but had roll motion blur due to the 180 shutter.
The low-light wasn't ideal either, even with fast lenses.
The moire from the 1080p sensor was real and ruined shots.
I also got a lot more comfortable shooting in public with a more visible camera setup.
New Setup: GH7 with 14-140 and 12-35.....
So what I wanted was the best of all worlds.  
Dynamic range.  
I knew the OG BMMCC and OG BMPCC were the same/similar sensor, and I knew the GH7 had more.  
What I didn't expect was how much more that would be in real life.  Here's a high DR scene from Monday.

Here it is without the FLC, which I set to add contrast.

Now with the shot raised by 3 stops.  Notice the detail in the railings and under the eves on the right.

Now with the shot lowered by 3 stops.  Notice that the roof, and even the body of the car are still not clipped, with the only clipping being the sun reflecting off the car window.

In grading, there is more DR than you can fit in the DR of the final shot - assuming you haven't developed Stockholm Syndrome for your LOG footage that is.
Low light.  
I had previously established that the GX85 and 12-35mm F2.8 were good enough for well-lit night locations.  I also knew that the BMMCC at ISO800 and the 12-35mm F2.8 set to a 360 shutter was good enough for semi-well-lit night locations.  I also knew that the BMMCC with my 50mm F1.2 lens was passable at the darkest scenes I shot in Korea - which were from the hotel window at night.
I've compared the GH7 vs the GX85 and BMMCC and the noise profiles are all very different, but I concluded that the GH7 had probably 2-4 stops of advantage over those.  This means that I might be able to shoot well-lit night locations with the 14-140mm lens, and might be able to shoot from the hotel window at night with the 12-35mm lens.  
I'm still contemplating if I should take my F1.2-1.4 primes on my up-coming trip, but if I don't I'll still be able to shoot 99% of what I want to with the zooms.
Camera size.
Perhaps the only drawback when compared to my previous setups.  
I'll be taking the GX85 and 14mm F2.5 pancake lens as the pocketable tiny camera.  This combo is no slouch by itself, so although it lacks some of the specs from more serious cameras, it is easily in the capable category, especially when helped by Resolve+FLC and from a shoot-cut-sound-publish mindset.
Absolute speed.
When it comes to absolute speed, nothing beats a smartphone, which is always in your pocket, can be pulled out and rolling in seconds.  This is also a serious tool when combined with Resolve+FLC and a shoot-cut-sound-publish mindset.

That's a good feeling. Nice to see you posting again as I always like to hear what you have to say. The shots look really good! So, did you get the Arri LUT add-on?

Not to mention that Museum Of Modern Moiré building.
 

I have a new setup and pipeline and I'm really happy with it.
GH7 shooting V-Log in C4K Prores 422 internally, at around 500Mbps 14-140mm F3.5-5.6 lens for daytime, 12-35mm F2.8 for night-time K&F True Colour 1-5 stop vND Pipeline in Resolve: CST to DWG as working colour space Plugin for basic shot adjustments Film Look Creator for overall look (and for taking the digititis out of the image) ARRI709 LUT to get to 709 output I went on a walk on Monday to test the full setup, and it was a crazy hot day (37C/99F) and direct midday sun, so seriously challenging conditions.  Here are a few grabs (be sure to click-through rather than viewing the preview files embedded in the post).










My notes and impressions - while shooting:
Setup was GH7, 14-140mm lens, vND, and a wrist-strap and that's it I used the integrated screen, showing histogram, zebras, and focus-peaking to monitor I used back-button focus to AF before hitting record, so no AF-C going on while shooting (and randomly changing its mind about what to focus on) All shots were 14-140mm at F5.6 for constant exposure The K&F 1-5 stop vND had enough range, when combined with the DR of the GH7, so I never needed to change settings, despite going in and out of shadow (and even inside, which isn't included in the above images) The vND had a much more consistent sky and colour render than my old (crappy) vND, so I'm really happy with it I did ETTR and bring images down in post, but my tests indicated that V-LOG is very linear so there are a good few stops of latitude there The "tripod mode" of IBIS, which locks the frame completely, was very effective (despite me being hot and not having eaten for hours) and I could hand-hold past 70mm without it needing to drift, and even at 140mm (280mm FF equivalent) the shots will be fine with a bit of stabilisation in post (C4K on 1080p timeline) I shot about 18mins of footage in about 1.5 hours, camera was on most of the time with screen at full brightness, and didn't get any notifications about the battery, and didn't look to see how much was left since I have a spare My notes and impressions - in post:
I chose a Film Look Creator preset and then just messed with it for maybe 10 mins, while scrolling back and forth through the footage, and I deliberately pushed the contrast to create a really strong sense of the contrast between the beating sun and the deep shadows Shots had exposure adjusted (obviously, due to ETTR) and some had contrast lowered and a few had slight WB tweaks, but that's it I never felt like I was fighting with the footage, and it didn't feel like work when creating the look..  I've shot with a lot of cheap cameras with tiny sensors and you always feel like you're trying to make gold out of lead, but playing in the FLC was more like choosing between a large range of high-quality options I used another copy of the FLC to adjust exposure etc per shot, with it set to not impart and 'look'.  The advantage of that is that in Resolve there is a mode (Shift-F) that maximises the preview image and gets rid of the GUI except for the vertical toolbar on the right-hand-side where the DCTL and OFX plugins are, so it's a way of getting almost a full-screen view but keeping the controls visible..  very useful if you don't have a control surface or a second monitor handy. I'll talk more about my thought process and how I got to this setup in a later post, and also go into some of the technical stuff (DR, high-ISO, etc) but more importantly than that, I finally feel like the tech has come of age.
What I mean by that is that I now have a setup where:
I can shoot with a conveniently sized setup that doesn't need a rig and is ergonomic to use It has the right usability features, such as histograms, zebras, focus-peaking etc internally The monitor is bright enough The GH7 plus lenses (14-140mm F3.5-5.6 and 12-35mm F2.8) are long enough and fast enough to shoot what I see, without being too large, heavy, or prohibitively expensive It has enough spec that it can deal with almost all the situations that I actually shoot in, with enough DR for the sun, enough ISO for night-time, and fans so it doesn't overheat before I do, etc It shoots internally using a colour space and codec that don't look cheap/amateurish and make me think about upgrading It doesn't fight with me in the colour grade Resolve and the Film Look Creator are able to easily give me the flexibility in post to match images and correct any weaknesses from shooting (e.g. if there's a bit of movement when shooting hand-held at 140mm) Resolve and the Film Look Creator are able to remove the 'digital/video' look and instead give me a range of options that don't look artificial and most importantly, contribute a feeling to the footage without distracting from the content of the images (this is, after all, the entire purpose of what we're doing here.....) For the first time it feels like I'm getting the results I want because of the equipment I have, rather than in spite of it.

Oh look, other sites are still shamelessly lifting content from this forum.
They could've at least credited you @stephen for doing the legwork and taking a chance on buying one.
 

@Noli - IMHO the other 2 buttons are none functional. I don't feel or hear any click. Original functionality of previous versions of this EVF was related to industrial instruments/devices. It was meant to be put on a protective helmet. Video input was AV. This previous version industrial EVF was fit with higher resolution sensor, HDMI input and adapted to another application - camera EVF.
After your posting decided to test the EVF with other cameras. Borrowed a Sony A7CR from a friend. With this camera EVF had the same or similar problem to what you describe. Interestingly when I switch HDMI output on Sony A7CR to 1080i interlaced, there is no flickering or garbage but of course split on 2 and can see only the upper half portion.
If I choose auto or 1080p - then initially picture in EVF is some flickering garbage. I have found that have to wait certain time, quite long - 5 to 7 min. After this when I switch EVF off / on picture becomes good and clear. It works as it suppose to work. If I a switch briefly camera off / then on again it still works. But if camera is switched off for longer is stops working and have to wait again.
I used also external monitor with HDMI out. Camera is plugged in HDMI IN of the monitor and EVF in HDMI OUT of the monitor. It works without a problem.
IMHO your conclusion that problem is related to power delivery from camera trough HDMI to EVF is correct. It is strange than after some time , EVF or Camera worms up and it works on certain cameras. Curious to see if HDMI cable with additional USB power delivery will solve problem. It won't be the best solution but at least it will work reliably. 
Have to warn everybody who wants to get this EVF that it doesn't work with all cameras. Guess I was lucky as it works without those problems on Sony ZV-E1.

Doesn't really work the same as an actual EVF, a loupe on a flip-out screen isn't solid enough to press the camera into your face for stability. Kinda works on a tilt screen. On a fixed screen or a flipscreen left flat against the body it's fine, and this is ok for cameras without a traditional EVF, but you don't get the tilt benefit.

I ordered the EVF thanks to this great thread. Shipping took around 3 weeks to Germany and I had to pay 20€ extra. 215€ total. Thats not even half the price of the Sigma FP EVF.
Unfortunately it does not work 100% with the Sigma FP. The camera screen flickers when I plug the EVF in and once in a while a frame appears on the EVF. After switching the settings of the HDMI Output in the menu a couple of times it eventually always works. Sometimes it takes 1 minute, sometimes 10 seconds, but after I switch off the camera it's always the same issue again.
At first I thought it wouldn't work at all and that the HDMI power of the FP was not strong enough but once the EVF works it does so without a problem until I power off the camera. For focus the image is nice and mirroring the camera display works great, with peaking, false colour, magnification, etc. The blacks are crushed (and have a green tint), so for exposure it is not as useful.
If it wouldn't be for that annoying connectivity issue this thing would be perfect. Paired with the 28-200 this finally makes my stripped down "Bolex FP" complete. Being able to adjust the EVF freely and keep the camera close to my chest is really comfortable and the Lens Stabilisation makes the FP viable for handheld while still being compact and light.
Think I'll be using this for slow paced personal projects or when I am filming constantly and dont turn off the camera a lot. The form factor and not having to think about extra batteries is great. For photography in sunlight I'll still have to use my diy loupe for the backscreen because waiting up to a minute for the EVF to finally work is just to cumbersome.
@Clark Nikolai Do you know if the buttons on the back have any functionality apart from the one that changes brightness?
 

Not sure what the situation is with Sigma and the Z mount.
They do three of their fast compact APS-C primes in Z mount but not the zooms or full frame.
They do more in RF mount but, again, no full frame.
You could speculate that pressure from both their L mount partners and their sensor supplier keeps them out of supplying the big two with full frame lenses.
In the case of Nikon it’s a bit moot as with the Megadap you can just buy the e-mount versions anyway and have them as near as dammit native anyway.

https://www.canonrumors.com/canon-aps-c-shooters-rejoice-sigma-to-launch-the-rf-17-40mm-f-1-8-and-rf-12mm-f-1-4/
Remember those like 5 years where everyone had the 18-35mm f1.8? Seems like this would be the successor.
Full frame is of course dominant now, so this wouldn't be as omnipresent as the 18-35, but could still be a very popular choice, at least if it comes to other mounts too.

And then there was one.
🤞

I produce documentary and audiovisual work in the university setting. Until now, I have always used action cameras such as GoPros; I recently added the DJI Pocket 3 to film behind-the-scenes material. On more than one occasion, these cameras have saved me from a mishap. Not long ago, while recording testimonies from a prominent researcher in a humid environment, the main camera’s lens fogged up and the subject’s time was very limited. So I pulled out the DJI Pocket 3, placed it next to the main camera, and shot in 10-bit D-Log. They really liked the result. I also use it for B-roll, since I can quickly position it in hard-to-reach places, taking advantage of its gimbal stabilization and autofocus to achieve excellent results and save time.

WTH of a combo! 56 grams + 1/1.7-inch CMOS sensor delivering 4K video at up to 120 frames per second...
https://dlmag.com/dji-osmo-nano-leak-reveals-ultra-compact-action-camera-set-to-revive-modular-design/
 

Photography has always been an expensive hobby. Since the SLR days there has been a clear mark of status associated with the best gear from the best brands. Wanting the best implied paying a lot more.
Camera companies have clearly segmented and re-segmented the "intent" you mentioned. Want the best hybrid video-cam with RF lens? Better pony-up for the R1, R3, R5M2 or R5c. Want the speed demon? There's your R7. Want a slow full-framer but with some limitations for video, as in no IBIS? Here you go with the R8. A considerably better camera and videocamera but no as expensive as the R1 and upper tier? Ahh, we've got your R6M2.
Every company out there does the exact same thing. 
So even if you are NOT looking for status, it's implied by your choice of gear.
The only way to eschew the game is by going full retro. And I mean really retro for gear NOBODY wants to use and can't even be used with modern computers easily.
I'm looking at you MiniDV, Hi8, and such.

What's interesting about Japanese market, which by no means representing the global market tho, is not Nikon taking the lead, which is a sudden jump by a single product, but Sony's steady decline, despite all previous generation alpha cameras they were selling at lower prices.

 
 

Oh you better believe it's coming, Canon would be foolhardy to leave a ton of cash on the table.
As always, they'll let other manufacturers take the risk with their products and test if their is a market for it.
Only then will they'll release a camera and gobble up the lion's share of it.

I've just sold my 2016 Nissan at the same price it was in 2020.

The line was absolutely leapt over for me when we started to see £1500+ MFT bodies.
I haven’t bought anything new since 2019 and even then it was because I was developing products that necessitated it.
Obviously, I’m an addict, so I’ve bought other cameras since but they’ve all been used ones and if I was to buy a new one again then I would be fishing in shallower waters where there is some great value like the X-M5 and Z50ii.
I am definitely getting a used Z8 in the winter as it’s as peak camera as I would need and is also peak price as I’d be prepared to pay these days.
And at the point at which I buy it, then it will only have taken me two years and a half years to finally pull the trigger.
For someone with the impulse control of Jim from American Pie, I’m counting that as progress.

Lumix S line prices are rising again on the used market. Vintage and quirky Mft cameras too. I got an orange GM5 with a 12-32 lens and two batteries for a good price two years ago, with the box, everything in great condition except the leather case. They cost up to three times as much now of what I paid two years ago! Here it is, a flimsy beauty, a tiny S9 minus 4K 10bit, but with evf, mechanical shutter and hotshoe:)

It’s just ‘advanced juggling’…
3 balls to 4, to 5, to 6, to 7, to 8, to 9, to tea cups and saucers, to live chainsaws. Which are on fire.
Welcome to Cirque du Soleil Weddings!

Yes I'm sure as I've owned most Panasonic cameras and I still have the GH5.
It has Open Gate 60fps but not a the full sensor resolution, more like 4K than 5,1K. Yes it's downsampled but it is still Open Gate without crop. I think the S1II uses more or less the same processing with its 5K Open Gate.
Whatever, I don't like the image processing of the S5II, S1RII and now S1II. So even my old GH5 looks better to me in Open Gate. I'm very close to fully switch to both Nikon and Sony. Even the recent Sony cameras have better detail rendering for video in my opinion. 

Even then, I very much doubt I will as I work with 3 (video) cameras and only 1 of them would need to full frame 6k 50p OG and that would be the one in my hand/monopod and the S5 body is a wee bit too heavy for my liking.
I mean it's not like it's a beast or anything, but now I am using the S9 in that role, it's actually a surprising difference.
Or could also be the fact that I have a very slim baseplate on the S9 whereas it was a Smallrig cage on the S5ii and using the f1.8 primes rather than the f2.8 Sigma 28-70, so all in, maybe around .5kg difference.
Otherwise I am just one camera away from a switch to Sony or Nikon because then I can drop 1 body and 4 lenses from my current 5 body 9 lens combo for stills and video...which is pretty considerable! I can't do it with L Mount in any combo of Lumix/Leica/Sigma.

Few additional findings and notes:
Tested it in bright sunlight conditions. It is great. Fully isolates the eye. Because it perfectly isolates the eye from external light, once brightness is adjusted there is no need to change it. Optics actually are better than thought initially. It has several lenses not just one loupe. Most likely metal housing was designed and used for smaller sensors - 0.5''. Current one is bigger at 0.7'' that's why far end corners aren't perfectly visible. I saw this only when was feeding it with signal from my laptop. When shooting with Sony ZV-E1 as already mentioned it displays a 3:2 crop at 1620x1080px and everything is perfectly visible and in focus. one relatively simple modification would be to cut the current cable and solder a female HDMI and probably glue it to the side of the EVF. This would allow to use better or custom HDMI cables. size is just perfect for cameras like Sony ZV-E1 and all other mirrorless cameras, especially when you don't want to use a rig and have just the camera and a lens, probably also a cage as it is in my case. Nice experience. Makes shooting with an EVF really comfortable. The more I use it, the more I like it  😀